IronFilm

And guess what... you'll be surprised how many productions still shoot in 1080!
I think I work on 4K productions more often than "less than 4K" productions (so including 2K for instance here as well). 
But I'm honestly not sure!
4K might be losing out. (but if 4K isn't in the majority yet, I get the feeling it will be soon. Can just depend on a bit of random chance, what type of productions I've been working on lately) 
This just gives you an idea of how slowly things can change, it's certainly not 4K+ only and always being used everywhere. 
And why ProRes is still the most popular choice, and won't be going away any time soon. 
Things change slower than you think. 

Have they ever???
Even when REDs were more popular on production, a few years back, it was still easy enough for producers (especially in big markets such as LA or NYC) to demand the latest. Because there was a big oversupply of RED shooters vs jobs suitable for a RED. 
Their RED Raven and RED Komodo pushed them rather close to consumer territory 
RED even at the best of times never really gained heaps of traction. 
Their market segments were:
1) RED fanboys 
2) cutting edge experimenters, who would dabble with the the RED ecosystem when it was new. Probably got burnt by RED. And would move along to abandon RED as soon as something better was available. Be it a Sony PMW-F3 / Sony FS700 / ARRI ALEXA / or whatever. 
3) people who needed a compact cinema camera , be it for a drone / gimbal / crash cam / whatever
4) people who want "higher quality" but can't afford the best. (i.e. ARRI ALEXA cameras, or Super 35 film, or something similar-ish such as Sony F35 or F65)
#1 has been in decline for years. 
#2 has completely disappeared. 
#3 got very gradually chipped away at with the likes of better mirrorless cameras + BMD's BMCC & BMPCC. But the release of the ARRI Alexa Mini almost completely demolished this niche for RED. Then the P4K / VENICE / FX6 / etc killed whatever small teeny remaining niches RED might still have in this market. 
#4 initially this gap for RED to live in used to be very big. As when the RED ONE was released the ARRI ALEXA didn't exist at the high end, not even the Sony F35 existed yet. And the HDSLRs didn't exist on the low end. So RED had all to themselves a massive huge market between the likes of Panasonic DVX100 etc on the low end and shooting on Super 35mm (or perhaps the Sony PWM-F900R) on the high end (which is VERY expensive!). Maybe RED's most direct competition was Super 16? (it's a middle ground between DVX100 vs S35) So it was easy to make a strong case for RED. 
But within a couple of years things very quickly changed:
ARRI ALEXA & Sony F35 etc got released, which meant the very high end for digital was no longer RED's. 
HDSLRs & HD camcorders such as the Sony EX3 got released so that the low end HD was no longer RED's. 
But as each year went by, it became worse and worse for Sony. 
As quickly you got RED being squeezed and attacked from all directions:
1) HDSLRs / mirrorless got better with 4K and even 10bit, killing even more of the low end market for RED. A filmmaker that in the past might have been happy to financially overstretch themselves to the max to try and get Scarlet-X for their thesis film, is now happy to shoot it on a newly released Panasonic GH4 with an Atomos recorder. 
2) Mainly Blackmagic (but to a lesser extent ZCam/Kinefinity/AJA/etc as well) killed off a lot of appeal for RED in the low end raw/ProRes niche of the market. And even attacking them hard in the mid range once the URSA Mini came out. Plus once the likes of ALEXA XT etc got released, making older ALEXA Classics increasingly more affordable to rent, then that too killed away the mid range for RED> 
3) The low/mid end for slow motion got killed by Sony FS700, and once the Phantom cameras came out they killed the high end for RED. And with time this just got worse and worse for RED, as more and more cameras could do better and better slow motion. 
4) compact cameras (for gimbal / steadicam / crash / cranes / etc) on the high end got killed once the ALEXA Mini was released, and had already been chipped away at by the mirrorless and BMPCC on the lower end
5) the low/mid range for documentaries / corporate / advertising / etc got massively eaten away at with the release of the Canon C300mk1 & C100, and then full on demolished once the Sony FS7 came along, almost no point for using RED at all. 
What was once a big area for RED between S35 level vs DX100 level filmmaking when the RED ONE was released has shrunk now to almost nothing. 
Remember too, that the camera rental is a very small part of an overall budget for a production in many cases. The difference between renting a RED Gemini vs an ARRI Alexa Mini is a rounding error for them. So why choose the RED?? 
And if someone is super strapped for cash, will they want to splurge on renting a RED Gemini or will they be happy to settle for the likes of an URSA Mini Pro or a Sony FX6 or Canon C300mk2 etc? (and probably, these cameras will be even better suited to the nature of this type of filmmaking) 
 
 
Indeed, you might have missed the boat on getting your hands on your dream camera! They're unaffordable now. 
ah right, two totally different sensors
Would make more sense to compare a Epic-X vs Scarlet-X that are both using the same MX sensor. 

That's the dream, a BMD camera with a mirrorless mount and NDs!
So very few affordable cameras do this. You're either looking at ones secondhand, or likely paying for at least as much as a Canon C70 / Sony FX6. 
So if BMD kept the L mount but added in NDs (either eND, or at least a clear + 3 stages of ND), say boosting the price up by a few hundred but still sub US$3K then it would be a pretty easy win as the best camera for me at that price point. Ahead of Sony FX3 / Panasonic S5mk2 / etc (I might still rate a preference to get the Sony FX30 instead though, it would after all be half the price. Is why what I really want to see is the standard P4K with ND!)

Just NDs thanks! I'll throw my SmallHD Focus on it as a monitor 

FX9 or C500 II would be more comparable.
Still why not a C70 i think for a one man band is a better buy than a C300 III?
 

Are you using colour management of some kind?  ACES / RCM?
Once you've learned that, almost all footage is the same.  I can't believe that people still grade and don't do this - I was never able to get anything to look good until I worked this out.  Sadly, it took me far longer to realise this than it should have!
I think this is why there are 50,000 YouTube videos from amateurs on "How I grade S-Log 2" and "How to grade J-Log 9" and why every second video from professional colourists (the few that share content online for free) is about colour management.  It used to drive me crazy hearing the same thing over and over again until I realised that it's the key that unlocks everything, and that getting really good results is incredibly simple once you've figured it out (getting great results becomes super complex again because colour grading is an infinitely deep rabbit hole, but that's well beyond these discussions).
The other variable is what the individual shots were.  It's not uncommon for me to go shoot something, with one camera and one lens, and then some shots just drop into place and look great and other ones are fiddly and I can never get them how I want.  This is a hidden trap for downloading footage other people have shot.

I have definitely found RED easiest to work with color wise. But the C300 MK3 is way more run and gun friendly. Have you considered the URSA 12K. I know BM doesn't get the hype that RED, Canon and Sony do, but the image is really good. The crop of the camera is 1.3x, between S35 and full frame. I'd download some footage from that and see what you think.

Translation: the people who graded the Sony footage aren't as good at colouring than the people who coloured the Canon and RED footage.
Seriously - there's the Dynamic Range, Bit Depth, Low light, and Frame-rates, but the entire rest of the equation is the skill of the people in pre, prod, or post.  Ungraded and poorly lit ARRI Alexa footage looks like home videos until the colourist gets involved.

D.I.T Hell

i followed cranky's channel for some time now. i accidentally stumped on his video on amira, which he thinks the best eng cam. 

That's why a lot of the Sony EX3 shooters would pair with with a nanoflash recorder for more premium shoots. 
Of course the  Panasonic AJ-HPX3000 doesn't have that problem with its 1080p 10bit 422 😉
Correct!
Yeah, it's always a trade off somewhere with these older cheap cameras! 😞
1) very lightweight codecs (sometimes you can work around that, with external recorders. Or it doesn't matter, as you're using it for live streaming purposes)
2) teeny sensors (well... even 2/3" is "small", but it's "large" relative to this, and what I'd prefer. But I'd like at least 1/2" like the EX1/EX3 is, not any less)
3) only 720p and/or 1080i (this is a very common issue with the Panasonics, they were slower
4) not worldwide (you can't do both 25 & 30)
5) no SDI (quite a few of these older / lower end ones would only have RCA as the video output, or might have SDI but only SD not FHD over SDI)
6) no interchangeable lenses (ideally B4 mount, but something like EX3's mount I guess I could live with that gets adapted to B4)
It's quite hard to find an older camera which hits all of these points and stays well under US$1K in being easily able to find 
Sooo true! I need to resist. 
Today a mate on Instagram (he's an EOSHD user too) asked me about what gear I had in mind to get:
Me: 
On the topic of Sonys, if you know about anybody looking to buy a Sony FS7 I've got one for sale
Time to sell it and buy more sound gear instead
Oops, slip of the tongue
I meant, and NOT spend more money on gear 🙄😅
Him:
Ohh what gear u looking for next 😏
Me: 
Thinking I might move a bit more over from Lectrosonics to Sony Digital
Might also change my Lectrosonics IFB setup from running in blk22 to blk20
Although ugh, that's such a big hassle as I've got so much stuff in those frequencies
But these Sonys are so wideband , blk22 creeps into the bottom of it, and I'd rather keep my Lectrosonics IFB transmitters going out of my bag far away from my incoming receivers frequency range
Also why I want to buy a RF filter I think, turn my wideband into narrowband ish.
I kinda want two of these: https://www.rfvenue.com/hardware/rf-accessories-and-parts/band-pass-filters But they have nothing in the frequencies I need it to be in 😞 This is a new product, not in production and available to buy yet, however I think it could be the closest to what I need: https://www.audiowireless.co.uk/online-store/DIGITALLY-TUNED-DUAL-ANTENNA-FILTER-DT-BOOST-2-p481882216 Just waiting on specs/price I guess, fingers crossed! 
Him:
Oops I shouldn't have asked 😂
Me:
haha, and that's just scratching the surface!
although yeah nah, I need to resist spending any more money this year. But I earlier this year upgraded my boom audio to having two Sony DWT-P01N transmitters (for the last several years my Boom Ops would use Sound Devices MM1 running into a Lectrosonics Digital Hybrid bodypack transmitter), as I felt that was a better path than going with Lectrosonics DPR or Shure AD3 transmitters which were the other two main choices for digital wireless that I was considering. However that then just opens the door to lots of other changes I want too

Just got to have plenty of light and be ok with deeper DoF! And be ok with FHD, and not 4K. And not need slow motion. 
Both traits/requirements that are perfectly fine for the gigs that The Cranky Cameraman was on in those videos. 
His channel in general I think is quite a good watch for lots of people who visit EOSHD who are at that sort of level (doing solo or very small crew work, but still making a very good living from that). 
Here is another video talking about EX3 vs FS7:
 The evil camera gear GAS bug bites me in wanting a Sony PMW-EX3 as well. (or the even cheaper EX1)
Or hey, I've been commenting a bit lately about the Panasonic Varicam LT & Panasonic BS1H, so maybe I should look more into the Panasonic equivalent?
I don't know the Panasonic range so well though, what would be the Panasonic equivalent to the EX1/EX3 from Sony? 
Perhaps the Panasonic AG-HPX250? (kinda equivalent to the EX1?) Or the Panasonic AG-HPX300 / 370 (kinda equivalent to the EX3??) Or go nuts for the big beasty Panasonic AJ-HPX3000, with 1080p 10bit 422 (body only is US$1.5K on ebay right now, but no lens / cards / batteries ) 

Actually I like EX1/EX3 color better than FS7/FS5/FX9/FX6 etc. That CCD vintage wine tastes well. 

12K and Broadcast G2 only.

Ummm... all of them?? (except maybe RED Ranger???)
Although the more modern ones will do better. The RED ONE of course being the worst, I was on a shoot where they draped frozen bags over it. 
Like I said, RED is infamous for this. Hated by the sound department, as we'll go over and ask for them to turn their fans down, and they'll whine "no we can't, otherwise it will overheat". 
But in you case, you'll be using the more modern-ish DSCM2 body, and you don't need to care about the sound dept, you can just happily crank up that fan to go at max noise all day long. 
Yup, this is why I think there is a strong argument for a Blackmagic Design, or Panasonic Varicam LT (or even EVA1 / S5 / S1H / BS1H ) or Fujifilm X-H2S or old ARRI ALEXA rather than a Sony or RED

It's super nice and highly educating to read about all the different alterations of Red bodies and sensors. To read about Geoff Boyle is a very beautiful thing @IronFilm  He was one major inspirations to me with his hands on attitude and to the point avdices he shared on his forum and in various interviews and videotaped:) workshops. I remember his evaluation of the Varicam. I remember him very dearly as one of the most impactful and supportive public figures of the arts and craft of cinematography.
The original post of this thread has been narrowed down by og poster to be privately filming landscapes with 60min of footage per trip. A S1H will be perfect for that or a used S5.
But you can of course buy a Red package for the amount of money you wanna spent and share your findings with us and maybe some of your filmed and edited material. Looking forward to it. Or get an Amira, if your hobby is worth to you a dime or two. @Jedi Master

A little more about the Panasonic Varicam LT for you to consider: 
https://www.newsshooter.com/2016/06/26/field-testing-the-panasonic-varicam-lt-a-hands-on-review-for-solo-shooters/ 
https://www.newsshooter.com/2016/06/03/panasonic-varicam-lt-do-i-like-you-an-owner-operators-perspective-from-miguel-toran/ 
https://www.newsshooter.com/2017/07/18/the-gods-of-fire-2k240fps-raw-recording-with-the-panasonic-varicam-lt-and-odyssey7q/ (you don't have to go with Convergent Design: https://www.newsshooter.com/2017/03/23/atomos-announce-a-free-cdng-raw-recording-firmware-update-for-shogun-inferno-flame-and-the-original-shogun/ ) 
https://*banned URL*/2017/05/review-panasonic-varicam-lt
https://www.provideocoalition.com/review-panasonic-varicam-lt-4k-super35mm-cine-camera/ 
https://www.provideocoalition.com/panasonic-varicam-lt-review-part-2/ 
https://*banned URL*/2016/07/panasonic-varicam-lt-review 
https://cinescopophilia.com/comparing-to-the-panasonic-varicam-lt-to-the-sony-fs7-camera/ 
Geoff Boyle is a very very highly respected cinematographer, here is what he has to say about his tests with the Panasonic Varicam LT:
https://www.newsshooter.com/2015/03/31/which-cine-camera-produces-the-best-image-geoff-boyle-has-surprises-in-store/
https://www.newsshooter.com/2016/03/09/bve-2016-cinematographer-geoff-boyle-says-arri-have-a-problem-likes-varicam-lt-image-uses-c300mkii-autofocus/ 
https://www.cinematography.net/Panasonic-VaricamLT-RAW-UHD-2017.html 
 
https://definitionmagazine.com/reviews/review-panasonic-varicam-lt/ 
 
If you want to go super lightweight (although I know weight doesn't matter much to you, but it might for other people reading this), you could consider "the baby Varicam LT", the Panasonic EVA1:
https://www.newsshooter.com/2017/06/03/panasonic-au-eva1-first-impressions/ 
They're sub $2K now:
https://www.ebay.com/itm/335107746560 

The Venice 6K is a certified Hollywood A-cam and I don't think it should be compared with the Burano, as the latter only offers X-OCN LT. That is a significant downgrade from the RAW and X-OCN options on the Venice cameras. My hope is that if they do bring out a Burano 6K, it will have X-OCN XT and ST because of the lower resolution and the fact that the Venice 6K is a much older design. In scenes with a lot of movement or change, X-OCN will scale resolution, especially when it comes to the LT compression. That is how Sony's X-OCN avoids artifacts. This means that Burano's 8K X-OCN LT will not be a true 8K image in all scenarios.

It's gonna be a personal preference thing in the end.
You'll get cleaner high ISO performance on the Sony. The Canon has internal RAW vs you need with an Atomos or the unit to do it with the Sony. 

The Sony can't do full sensor 4k 60p. You have more lens options with E-mount. The canon is easier to mount on a gimbal. 

If your only gripe with the FX6 is the mount then you can get a locking EF mount that has bottom support, making it bullet proof. Of course that isn't an option with emount. Although I feel emount lenses don't really need a locking mount as they are pretty light. You'll love Sony E-NDs. 

The FX6 is pretty amazing for fast paced stuff. It barely weighs anything yet the body is big enough where it isn't awkward to rig up. E-ND's are out of this world nice to have. 

I struggle to see these digital medium format cameras as anything but pure stills cameras with occasional video use.
Hasselblad didn’t even bother with the video side with the X2D.
Or forgot.
Money no object, still my dream stills camera.

haha, yeah, put the Panasonic BS1H inside a Tilta camera cage, slap on a few RED stickers, and use it with the RED branded lenses (nobody will guess it isn't "a RED"! haha):



I have been very often tempted to get the RED 17-50mm or 18-50mm Cine Zoom. Or even the utterly insane RED 18-85mm lens!! It is a beast. Well, for me to use it. As I'm not used to that. But I work every week with camera ops using lenses such the Canon 17-120mm T2.95 and the Canon 25-250mm T2.95 Servo PL Lenses:
https://www.bhphotovideo.com/c/product/1633520-REG/canon_4573c011_cine_servo_25_250mm_t2_95_pl.html
https://www.bhphotovideo.com/c/product/1043631-REG/canon_9785b002_cn7x17_kas_s_cine_servo.html 
But more seriously, did you know you can get a RED Scarlet brain for just a grand and a half on eBay? (sadly just the MX sensor though, but for another US$500ish to a grand more, you could pick up a RED Scarlet Dragon. Or the RED Raven brain can be found for roughly sub US$2K, it is a Dragon sensor within the newer DSMC2 system. But with the RED Raven you're stuck with EF mount only, and it's sensor is unfortunately a little smaller than S35)
Maybe slightly over $2K-ish for a more complete RED Scarlet package that you just need to add lenses and V Mounts to. 
Perhaps I should have added one more option to this:
RED Scarlet MX camera for US$2K (or RED Raven). Is a little more expensive than going with a Pocket 4K or Micro Studio G2 setup, but a fair bit cheaper than a BMD URSA Mini Pro and a lot cheaper than an ARRI ALEXA Classic. Yet this camera body will be a lot more portable than either! (for gimbals / steadicams / car rigs / ceiling rigs / cranes / jibs / sliders / etc)
Of course in "the real world" a RED camera is fairly worthless, especially one as old as this. But in the no budget indie / student filmmaking world, a lot of them still drool over the "RED" name. 

Unfortunately or maybe fortunately depending how you look at it, the skill to get in now doesn't need to be as high anymore. Even many people at very lofty levels of the film industry are not as skilled as they used to be. 

DP's can utilize high resolution color accurate monitors to see what they are getting rather than light metering. Cameras are so sensitive now you don't need crazy light fixtures. A lot of big budget shows are now are using mostly small LED fixtures combined with natural lighting. There's certainly a level of skill still required especially on the biggest of productions but it's become less and less. 

Think about changing a 35mm film mag vs digital media. Same with getting good results shooting 35mm film for a wedding vs digital. Night and day 

@bjohn, you need to get a digital camera that looks like a film camera such as the Nikons Df and then she'll never be able to tell if you're being responsible shooting digital or being evil using film 😉

@bjohn, you need to get a digital camera that looks like a film camera such as the Nikons Df and then she'll never be able to tell if you're being responsible shooting digital or being evil using film 😉

I think its the Burano honestly. Same sensor as the 80K Venice 2. Doesn't require the bulky raw recorder, weighs 3 pounds less. Why would you get the old 6k Venice when you can get the Burano for 25k. Now at 18k the original Venice is tempting, but for just a few more Ks you get brand new camera. 

The Burano doesn't have as many output or power output options though, but neither does the Alexa mini.